Java Suite Phonoramas Tonal journeys for the Pianoforte LEOPOLD GODOWSKYa = Preface z@ we Eon 7 ta ind the Having traveled extensively in many lands, some near and familiar, others remote and strange, it occurred to me that a musical portrayal of some of the interesting things [had been privileged to see, a tonal description of the impressions and emotions they had awakened, would interest those who are attracted by adventure and picturesqueness and inspired by their poetic reactions. Who is not at heart a globe-trotter? Are we not all fascinated by distant countries and strange people? ‘And so the thought gradually matured in me to recreate my roaming experiences. This cycle of musical travelogues—tonal journeys—which I have named collectively “Phonoramas,” begins with a series of twelve descriptive scenes in Java. I have pre- faced each with a brief elucidation. ‘The Island of Java, called'“The Garden of the East,” with a population of close to forty millions, is the most densely inhabited island in the world. It has a tropical, luxuri- ant vegetation; marvelous scenery and picturesque inhabitants; huge volcanoes, active and extinct; majestic ruins and imposing monuments of many centuries past. The Javanese are a docile people, with quaint customs and old traditions. Possessing an ancient culture, they combine originality with proficiency in various arts. It was, how- ever, the native music of the Javanese, in the heart of Java, at Djokja and Solo, that made the most profound impression on me. Alll Javanese music is in duple or quadruple time; triple time does not exist. Its same- ness of beat and its monotony of pulsation have a lulling, hypnotizing effect; its poly- rhythms, syncopations, triplet-figures and manifold passage-patterns help to stimulate in- terest. Most of Javanese music is based upon the pentatonic scale. Of the twelve numbers of this suite, all of which are in duple or quadruple time,* the first two dances of the “Three Dances,” In the Kraton” and “A Court Pageant in Solo” are entirely diatonic; “Gamelan,” “Wayang Purwa,” “Hari Besaar” and. “Chattering Monkeys,” though mainly diatonic are not consistently so; “Boro Budur,” “Bromo Volcano,” the third of the “Three Dances,” ““The Gardens of Buitenzorg,” “In the Streets of Old Batavia” and “The Ruined Water Castle at Djokja” are considerably more chromatic. Although some of the following compositions, or parts thereof, express my impres- sions in the native music-idiom as I understood it, I have neither borrowed nor imitated actual Javanese tunes, designs or harmonies in any of the movements excepting the third: Hari Besaar. ‘Here I made use of two fragments of authentic Javanese melodies, one called Krawitan: the other, Kanjut: I also used two measures from a Javanese Rhapsody for orchestra, composed by Paul Seelig of Bandong, Java, to whom I take pleasure in expressing my indebtedness for vali able information about Javanese music: geet flelowery a New York, May 27th, 192s.Addendum z Groeh gods, oe ety reveled to tne ater “Oven Witte ‘The thoughtful attention given to the interpretative directions of my compositions has resulted in a profusion of expression marks, pedal indications and fingerings. Though they may appear on the surface as too minute and elaborate, I believe the serious student will find them essential and illuminating. To disregard or alter such indications—in the broader sense—would seem to me as much of a license as a change of any melodic line, harmonic texture, or rhythmic design. Even when all the interpretative signs are scrupu- ously observed, there yet remains ample scope for self-expression and individuality. To the unthinking this statement may appear paradoxical, but to those who do not seek liberty in lawlessness and originality in individualistic distortions, the truth of this assertion will be apparent, I deem it necessary to emphasize the importance I attach to the extreme softness of a pp mark, To play a genuine pp, both concentrated and sustained effort is required. At the same time I wish to draw attention to the dynamic relativity of all accents, except sf, which symbol is of an exclamatory character. ‘Whenever an accent is provided for each note of a melody, as in the third dance of the “Three Dances,” the purpose is not to accentuate each tone individually, but to give a dynamically graded plastic outline to the melodic contour, with proper regard, of course, for proportionate dynamic values in the interrelationship of phrases. The same principle is applicable to the tenuto (-) mark, which demands a clinging to the key, with a barely perceptible dynamic emphasis. The sign A is a combination of tenuto (-) and sforsando (sf), requiring the notes. so marked to be both fully sustained and very strongly emphasized, The task to establish firmly an approximately definite rate of speed for any move- ment, or to indicate undulations of time within any movement, presents insurmountable difficulties. Our ever-variable feeling for what would constitute a correct tempo and appropriate time-fluctuations for and during a movement, prevents us from deciding defi- nitely and consistently upon a permanently fixed rate of speed. Therefore I believe that tempo designations or metronome marks should be considered as guiding suggestions rather than inflexible directions, although appreciable deviations would lead to misinter- pretations. The performer's physical and mental state, his prevailing mood, the entourage, the weather, seasonal changes—each and all affect his susceptibility, And the more sensi- tive and sensitized the artist, the more responsive he is, the more he vibrates and throbs in unison with the known and unknown influences and unfathomable forces, the greater, deeper and finer is his art. L.G. New York, July rith, 1925, Hoe a a